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Post by nash16 on Feb 14, 2024 8:07:13 GMT
Did anyone see Peter Jöback last night? Do we have any reviews? All That Dazzles gave him 5 stars.
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Post by nash16 on Feb 8, 2024 23:26:18 GMT
Oh my god they keep recasting that role Different reasons though. I bet the marketing department aren't pleased. Luckily the advertising poster for it has been Kenwright quality from the off and they’ve photoshopped every Edmund in and out 😂
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Post by nash16 on Feb 8, 2024 18:14:52 GMT
They will not be wanting to hire, of all people, Robert Icke. Too talented and successful ? Sadly neither of the above, but I don’t want to drag up what was discussed a couple of years ago about him.
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Post by nash16 on Feb 8, 2024 11:29:56 GMT
Leaving Autumn 2024. Interesting figures from The Stage article on this news that under his tenure: "Black and global majority artists have directed more than half and written 48% of all main house shows. The theatre said that off stage, the Young Vic had gone from 11% to 44% black and global majority staff across the organisation and 40% in senior management." Nothing on the commercial, or indeed artistic, success or otherwise of his tenure which I think has been mixed. If the YV have any sense they'll appoint Robert Icke to address those two issues. They will not be wanting to hire, of all people, Robert Icke.
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Post by nash16 on Feb 2, 2024 14:11:28 GMT
Well on Groundhog Day itself hopes for West End for this now gone as Music International have just announced licensing for this is available.
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Post by nash16 on Feb 2, 2024 14:08:30 GMT
Well this is depressing stuff, isn’t it?
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Post by nash16 on Feb 1, 2024 13:55:13 GMT
Somethign tells me this isnt the only Young Vic departure we'll be hearing about this month.... It’s so sad all of this is happening at the same time…
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Post by nash16 on Jan 31, 2024 22:48:04 GMT
Rehearsals had started so guessing something went down in the room (the play’s subject matter sounds as though it could be v sensitive when discussed) and she felt she had to leave?
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Post by nash16 on Jan 18, 2024 14:00:45 GMT
Stop Casting Great Actors In Musicals. We want Singers, not Actors. I want to sit and be able to close my eyes, for the whole show, and hear it sung beautifully. Perfectly. Breath control. The works. I do not go to a musical to see it acted well. I only go for the songs. There are so many of our musical theatre stars who can sing mightily, and act sort of. Why didn’t they check them? Jesus, Mary, & Joseph…and the wee baby donkey. This isn't a fair comment. Musicals are meant to make you feel something. It is no good just being a fantastic singer if the audience aren't connecting with the story. You should leave the theatre feeling a whole hoard of emotions. Some of the finest MT performances have been from people who in fact aren't the best singers in the world but who give the lyrics new meaning and pull you in. You just have to watch the Sondheim Gala to understand this. I fear you may have misunderstood that I was taking the mickey…
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Post by nash16 on Jan 17, 2024 12:16:23 GMT
Stop Casting Great Actors In Musicals.
We want Singers, not Actors.
I want to sit and be able to close my eyes, for the whole show, and hear it sung beautifully.
Perfectly.
Breath control.
The works.
I do not go to a musical to see it acted well.
I only go for the songs.
There are so many of our musical theatre stars who can sing mightily, and act sort of. Why didn’t they check them?
Jesus, Mary, & Joseph…and the wee baby donkey.
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Post by nash16 on Jan 11, 2024 23:59:43 GMT
3* from Arifa in the Guardian, who seems to have been the only critic who liked it within reason. Can we rename her “A-threestar” please? That’s all she ever gives. Even to this.
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Post by nash16 on Dec 28, 2023 18:21:36 GMT
I think the less Miranda sings the better - her character is meant to be aloof and above it all....not a personality that lends itself to a showtune....a song at the end when her character unravels a bit would be perfect. She needs a wip-smart, witty patter song that deconstructs the fashion world. I’m imagining a “You Are What You Wear” number, a la the American Pyscho musical:
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Post by nash16 on Dec 28, 2023 18:16:13 GMT
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Post by nash16 on Dec 21, 2023 23:33:22 GMT
I’m slightly worried about this transfer.
Obviously many people liked the show at the National, but so many of that cast are no longer staying with the show for its move across the river, including vital players like Maimuna.
Also, the way the NT are advertising the show with that image of when everything kicks off (which must make up all of 2minutes of the show, if that), making people think it’s an explosive, all guns blazing show, when it’s anything but.
It all just seems very…muddled.
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Post by nash16 on Dec 15, 2023 22:28:11 GMT
I am enjoying seeing Luke Thallon grow up. I first saw him in the Guildhall production of Crazy for You back in 2017 (so his singing ability was no surprise to me). He was such a ball of energy in that. My eldest son is one year younger than Luke and so I know just how much people mature in their early twenties. It's a real pleasure to watch. Isn’t he wonderful? I fell in love with his acting on the spot while seeng Leopoldstadt, he nailed both characters that could not be more different and just made we weep in the end.. What a discovery I thought, and since then I try to see him in things.. such a shame he’s not extended his talent onto tv and films just yet.. Wish for more chances to watch him perform! Looking forward to this though.. didn’t know he could sing! Wondering, is there any footage from that Crazy for You maybe? I was lucky to see him in Crazy For You, and the fact he could tap dance like a dream, as well as act that well... Also heard that he has little to no interest in TV/film. He loves theatre, and wants that to be his home. So refreshing. Great actor.
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Post by nash16 on Dec 12, 2023 13:06:47 GMT
Love her. But so sad that she’s reduced to playing the Park Theatre. Did her film career ever recover after the conviction?
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Post by nash16 on Dec 7, 2023 19:18:56 GMT
The interval has been cut and the running time is now a mere 75 minutes straight through. Wondering how long until the scripted show is cut to 0mins, and they just let people in and say it's a ghost onstage.
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Post by nash16 on Dec 7, 2023 10:25:25 GMT
Just found one £12 and several £25 tickets for 25/1. Not sure if returns of if they release them bit by bit. They weren't there yesterday. There’ll be more returns probably given the reviews.
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Post by nash16 on Dec 6, 2023 19:32:15 GMT
Lots of tickets including £20 stalls back for both shows being filmed performances for NTLive recording on Wednesday 13th December.
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Post by nash16 on Nov 30, 2023 21:14:04 GMT
The scenes at Shenton Towers when one of those dastardly bloggers gives this a rave review and gets their quote on the marquee! I'm actually desperate for one of those bloggers to give it a 5*!
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Post by nash16 on Nov 30, 2023 15:54:20 GMT
It was a nice evening out, but not enough to warrant a transfer, surely? Not starry enough either.
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Post by nash16 on Nov 26, 2023 14:24:07 GMT
They kept the National newspaper reviewers away for a reason.
It will get massacred if it come into town. But they’re probably relying on coach parties to save it if it does happen.
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Post by nash16 on Nov 26, 2023 1:12:44 GMT
The first preview was on Wednesday of this week, wasn’t it? First preview tonight! Around 1 hour 50 min no interval Was very funny in places. Some black out scenes a little long and people nodded off. Was interesting and fun overall with good acting. But not as good as the Flick
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Post by nash16 on Nov 25, 2023 18:22:11 GMT
If it evokes her Romeo & Juliet, I’m definitely out. That was appalling. Saw the matinee and wow - absolutely astonishing. As I said earlier in this thread, I'm a big fan of both Birch and Frecknall, so was prepared to be disappointed, but from the moment the set was revealed, I was in awe. I understand the criticisms about Harriet Walter, but it isn't her play, at least not in this rendering - as Adela, Isis Hainsworth is full of fire and resistance, and the supporting performances from Eileen Nicholas, Lizzie Annis and Pearl Chanda are extremely powerful, plus at times surprisingly witty. Frecknall's signature physicality and symbolism are haunting, invoking her Streetcar and Romeo and Juliet, while Birch employs the layered and rhythmic style of Anatomy of a Suicide and the latter section of Revolt, all to great, great effect. I felt it in my body - the repression, the simmering desire, the ambition to escape. "Intense" cannot cover it, and I will be thinking about this play for a long time. An enthusiastic response from today's audience - I do wonder if the "muted" reaction described above is due to shock at the force of the ending. 5 stars from me - and I doubt I will be the only one.
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Post by nash16 on Nov 22, 2023 15:15:40 GMT
Dominic West heading West Country to give his Eddie Carbone in yet another production of A View From The Bridge; this time at Theatre Royal Bath in Feb. Dir. Lindsay Posner.
Should be intense in the Ustinov Studio, but will it transfer east to London? Maybe the Young Vic? Too soon after Strong?
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Post by nash16 on Nov 19, 2023 0:22:45 GMT
The R&J was baaaad. I think it’s selling well because the theatre/straight play scene at the moment is so starved of any decent work. But it’s sad to hear this isn’t working. There was a brilliant production in the Lyttleton years ago, with another standout Poncia in Deborah Findlay. Why of why do young directors feel the need to underscore with tempo/clock countdowns to create drama. It’s so patronising. Will be missing this one. Didn’t enjoy this tonight. Poncia was excellent and a standout, though. Adela felt extremely forced and not emotionally connected, like she was tryingggg to showww her wordsss were importantttt but felt fake. I saw a lot of Frecknall in this for the worse. So slow. Boring adaptation. Many curse words thrown in. Stand-and-speak valued over genuine interactions for the most part. The beginning had unnecessary we-are-all-talking-over-each-other-this-is-artistic vibe. Then it got slower and slower. A lot is lost having Pepe onstage. I prefer the secrets to be more secret. It’s like they made everything obvious and forced, and then gave us some bell gongs, clock ticks and a slow-as-molasses tempo to summon up tension. Makes me glad I missed R&J. Bernarda, as mentioned above, does not come off as powerful. It just didn’t make sense what the point of view on the play was in this production. I really wonder how others will feel. This has sold so well at high prices. Good work under bad circumstances from some of the actors. But overall, for me, a dud.
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Post by nash16 on Nov 18, 2023 17:14:26 GMT
Is it me or does walking through a ‘war zone’ seem in particularly bad taste at this moment? Of course they would have planned and designed this well before the Israel Gaza conflict- but this would make me feel uneasy. Not in bad taste at all. It will have been planned months/years ago, plus Fiennes has often said he has little interest in doing Shakespeare in period clothing as it distances the audiences even further from the relevance of the stories to the present. His Coriolanus film did the same. Watching that conflict play out on TV, I feel/hope this production will bring audiences even closer to the realities of being in such a terrible situation.
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Post by nash16 on Nov 17, 2023 14:06:43 GMT
It’s definitely veering that way though… She’s a brilliant- and Olivier award winning actress- I don’t see any issue here. It’s not like it’s the Jenny Seagrove situation
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Post by nash16 on Nov 17, 2023 13:33:04 GMT
Harry for the win. That’s random. Just because she’s with the writer? Mark my words she’ll be in it and have the best part. It’s sweet, she’s his muse.
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Post by nash16 on Nov 17, 2023 13:31:56 GMT
Laura Donnelly 😂 As we all predicted.
First The Ferryman, now this.
It’s like when Gillian Anderson got Peter Morgan to write and get her cast as Maggie Thatcher.
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